The Boneshakers are back with Live To Be This, their 11th studio album and their most electrifying release yet. Set to drop on renowned Blues Label Gulf Coast Records, this album brings the band's signature Blues & Soul energy to soaring new heights, fueled by the powerhouse vocals of Jenny Langer and the masterful guitar work of Randy Jacobs.

The concept of the album is all about trusting feeling over thought.

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Predominantly known as the musical genesis of eventual home 4-track folk pioneer Linda Smith, The Woods’ organically experimental blend of folk style and pop sensibilities epitomize 80s NYC underground music. Included here is their lone 1985 single plus a full album’s worth of previously unreleased recordings and a zine-style insert filled with liner notes and ephemera. The Woods are often associated with New York’s post-punk scene, a designation that may ring true in the sense of their DIY ethic but in a musical sense is far too simplistic. The band is as informed by the harmonies of 70s British folk music as they are by the droning minimalism of the Velvet Underground. Their pop sensibilities run deep, and their noisier and experimental moments seem to be rooted more in the desire for artistic dramatic effect than anything that could be considered punk. The complexity of their harmonies and penchant for melody are really what sets the band apart.

Robert Thomas Velline, known professionally as Bobby Vee, was an American singer who was a teen idol in the early 1960s and also appeared in films. According to Billboard magazine, he had thirty-eight Hot 100 chart hits, ten of which reached the Top 20. He had six gold singles in his career.

Brian Hyland is an American pop singer and instrumentalist who was particularly successful during the early 1960s. He had a No. 1 hit on the Billboard Hot 100 with "Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini" in 1960. Other hits include "Sealed with a Kiss" and "Gypsy Woman", which both reached No. 3. Hyland continued recording into the 1970s. AllMusic journalist Jason Ankeny said: "Hyland's puppy-love pop virtually defined the sound and sensibility of bubblegum during the pre-Beatles era." Although his status as a teen idol faded, he went on to release several country-influenced albums and had additional chart hits later in his career.

Here there are in full the stigmata of the Gato major, in contact, moreover, with thematic material that is not his own, which, moreover, from the height of his absolute improvisational magisterium, he manages to make his own through a broad, fluent, very generous eloquence, full of ripples, excruciating sounds, but always with that sense of song that even before that of Coltrane (or of the much vaunted, at the time, Pharoah Sanders) comes to him from Albert Ayler.

This release fills a gap in Barbieri’s discography. The artist we met in his first work as a single leader, In Search Of The Mystery (1967), moved in the realm of pure improvisation, going in the direction of the spirituality of Albert Ayler and Pharoah Sanders. In the Roman sessions, however, Barbieri recovers his original matrix deeply rooted in the language of John Coltrane and, in part, in that of the early Ornette Coleman. To some extent it is a completely new Barbieri that emerges from these recordings.

With this release, cpo, the Gutenberg Soloists and the Neumeyer-Consort under Felix Koch have already completed an impressive five seven parts of their joint journey, at the end of which connoisseurs and lovers of the composer Georg Philipp Telemann can look forward to the first and for a long time certainly unique complete recording of the cantatas that the incredibly industrious man wrote in the years 1713 / 14 for the services of the Barfüßerkirche in Frankfurt. The current box is dedicated to the Ascension and Pentecost festivals and also presents other creations that are counted in the church year "after Trinity" - all of them small and large miracles that do full justice to the instructive texts of the poetic pastor Erdmann Neumeister with their imagery that appeals to all the senses.

Liebevoll als »Erben des 80er Jahre-Hardrocks« bezeichnet, liefert H. E.A. T – wie der Name verspricht – energiegeladene, heiße Rockmusik. Seit der Veröffentlichung ihres selbstbetitelten Debütalbums »Heat« (2008) und ihrer Hit-Single »1000 Miles« (2009) sind H. E.A. T ein weltweiter Medienliebling. Mit ihrem zweiten Studioalbum »Freedom Rock« (2009) setzte die junge Rockband ihr melodisches Rockfeuerwerk fort.

Four strings, three trombones, an organ and a small four-part choir with occasional solos - these modest means were sufficient for Johann Caspar Ferdinand Fischer to compose the litanies, psalms and hymns assembled here in a liturgical manner, whose internalized, devotional beauty quickly raises the question of why he has not long been at the forefront of the international concert of Baroque masters. Certainly, his music for keyboard instruments is well known and his influence on Bach, Handel and other contemporaries has long been a truism of history. However, the full versatility and artistry of the man from Bohemia, who first fulfilled his high duties in Schlackenwerth (today: Ostrov) and later in Rastatt, is still far from being fully appreciated. Pioneering deeds such as the present production should significantly increase demand - and thus first-class offers.

In 1919, the cellist Marix Loevensohn ordered a duo sonata from Henriëtte Bosmans, which he wanted to perform in one of his recitals. He received what he had requested and thus opened the "cellistic" section of the young composer's oeuvre, which was soon followed by two concertos and a Poème with orchestra (jpc 11794494) as well as various piano-accompanied pieces. Partly inspired by Loevensohn, partly by her friend Frieda Belifante, the result was a collection that bears witness to a talent that was as self-confident as it was sensitive: The massive cornerstones of the Sonata enclose lovely songfulness à la Brahms and Debussystian splashes of color, the three Impressions flirt with different eras and landscapes, the Nocturne for cello and harp can't get enough in dreamy indulgences - and the sensitive spirit willingly melts away.

Adalbert Gyrowetz, born right between Mozart and Beethoven, was one of those who had to experience the changing times in a particularly drastic way. When he died in 1850, Schumann was 40 and Liszt 39 years old; and Chopin, who had made his debut in Warsaw in 1818 with a piano concerto by the Bohemian, had already been dead for six months. Gyrowetzen's instrumental music had once been particularly celebrated; it was printed many times, performed and finally - forgotten. The composer switched to the stage, wrote church music and created a post-summer in which he must nevertheless have thought wistfully of the old pieces, which were sometimes considered to be the best Haydn. The sample from the "good old days" compiled by the tireless explorer Howard Griffiths shows how this could happen. His orchestra is no coincidence: Gyrowetz once enjoyed a high reputation on the Thames too. Now he is back.

Recorded during the sold out 24 Karat Gold Tour in 2017, this release features a set-list of fan favorite Nicks songs from her solo career and as a member of Fleetwood Mac including “Gypsy,” “Rhiannon,” “Stop Draggin' My Heart Around,” "Edge of Seventeen," “Stand Back,” “Landslide,” as well as the first ever live recording of “Crying In The Night,” and other live rarities.

Jake Elijah is a 25-year-old musician, animator, and video editor based in Brooklyn, New York.